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Statues of
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John Rogers
Groups without Lincoln
Excerpts from newspapers and other
sources
From the files of the
Lincoln Financial Foundation Collection
7/ SLD03. 055 oldO*,
ROGERS' GROUPS.
COMING TO THE PABSON. Price, $15.00.
These groups are packed, without extra charge,
to go to any part of the world, and their safe arrival
guaranteed. If intended for Wedding Presents,
they will be forwarded promptly as directed. Il-
lustrated catalogues of groups, and pedestals. in
ebonized wood, can be had on application, or will
be mailed by enclosing Ten Cents to
JOHN ROGERS, 23 Union Square, New York.
Visitors are always welcome.
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Digitized by the Internet Archive
in 2012 with funding from
State of Indiana through the Indiana State Library
http://archive.org/details/staturlinc
'Checkers Up at the Farm," the First and One of the Most Popular of John Rogers' Group Statuettes. Once Figures
Like This Adorned the Parlors of America. They Now May Be Found In Secondhand Dealers' Stores, Attics and;
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HIS OWN PRICE LIST
148. ROGERS, JOHN. Groups of Statuary. The
ongmator's own Price list. 4to, 6 pages, N Y
1876. Illustrated with 36 reproductions of his
groups, carefully described. Complete price list
of all his work up to date IN NEW YORK. "No
charge made for packing". In immaculate state
of Preservation. In protective case. LIKELY
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Prices in New York, 1878.
Hide and Seek (Boy) $50 CO
.." « (Girl) 50 00
Pedestal for do. 10 00
Bubbles 35 00
Fairy's Whisper 25 00
Fugitive's Story 25 00
Council of War 25 00
The Mock Trial 20 0O
The Favored Scholar 18 00
Challenging the Union Vote. . . . 15 00
Taking the Oath . . 15 00
Tap on the Window 15 00
The Foundling 15 00
Coming to the Parson ". 15 00
Courtship in Sleepy Hollow ... 15 00
One More Shot 15 00
Wounded Scout . 15 00
Union Refugees 15 00
The Traveling Magician 15 00
Private Theatricals 15 00
Country Post Office. 15 00
Weighing the Baby $15 00
Checkers ur at the Farm 15 00
Washington , 1 5 00
School Examination .■ . 1 6 00
Charity Patient 1 6 CO
Uncle Ned'a School 1 5 00
Returned Volunteer 1 5 00
Playing Doctor. . 1 5 00
School Days 12 00
Parting Promise 12 00
Rip Van Winkle at Home 12 00
Rip Van Winkle on the Mountain 12 00
Rip Van Winkle Returned.. 12 00
We Boys 12 00
Home Guard 10 CO
Mail Day 10 00
The Shaugraun and "Tatters".. 10 00
Town Pump 10 00
Picket Guard 10 00
Going for the Cows 10 00
NO CHARGE WILL BE MADE FOR PACKING.
Orders can he sent with the price of the Group, directed to
JOHN ROGERS, 1155 Broadway, New York,
and they will be forwarded by freight or express as directed.
j'W
G ■. ■".,
\ ci Ic
The Travelers Protection
The 1939 Travelers Calendars
Receive Warm Reception
THE Travelers John Rogers
Groups Calendar is evoking
an enthusiastic response from
those who have received it. Many
letters have been received from
Travelers representatives, busi-
ness men, editors, antiquarians
and others praising it very highly.
Here are some brief excerpts
from some of the many letters
received :
"We admired the Currier and Ives
calendars so greatly that we have
wondered more than once what could
possibly be done comparable in interest
and have even gone so far as to try to
think up something in our own mind,"
writes a business man.
"The advance copy of the Rogers
calendar is, in our opinion, a stroke of
real genius. Having been brought up in
this atmosphere and as a youngster
making a mental collection of the vari-
ous groups we encountered when we
were dragged around by our parents to
make calls, and having at one time
actually possessed an original by Mr.
Rogers, you can realize that we write
feelingly.
"We feel sure that your public is
going to respond to this time and period
and these very worthy expressions of
American life in what is sometimes
termed the General Grant or Black
Walnut period. Again you have the
happy satisfaction of having accom-
plished something not only well worth
while but of distinct interest and value
to the present day."
"My calendars received in O.K. con-
dition," says a Travelers representative.
"Thank you more than I can tell you.
It is a deep and abiding satisfaction to
be able to place such a fine bit of
'culture and art' as this calendar is,
into the hands of highly discriminating
friends and prospects.
"Will you please help me with a
problem encountered on the delivery
of the very first of my supply of calen-
dars. The lady of the house remem-
bered a Rogers group which her parents
had 'chucked' into the attic — the
Coming to the Parson one. Later she
telephoned me that she had found it
and in perfect condition."
October 26, 1938
"You have selected a subject which
is extremely interesting to us and we
consider your calendar a fine tribute to
the memory of John Rogers," writes
the Assistant Secretary of a New
England institute.
"We should appreciate receiving
another calendar to be placed in our
file of material relating to John Rogers.
We can then display the one we already
have near the Groups."
"It's a very good job and retains the
'American' interest," comments a New
York business man. "It ought to go
over well."
"I was brought up in the company of
Rogers Groups, and when I first joined
the Salmagundi Club in New York, the
Club then occupied the former studio
of Rogers in West 12th Street," recalls
the sales manager of a large publishing
concern.
' 'You will know that my interest in
these Victorian pieces has been and is
very great. They represent a phase of
art appreciation in America which was
almost universal.
"As 'Americana,' a phase of life and
times, the calendar is magnificent, and
it will be a collector's item, as all your
calendars have been. It merits wide
appreciation, which is certain to be
met."
"It is an extremely creditable per-
formance and must be one of great
interest to countless people," writes an
antiquarian.
"Another distinguished and original
job," comments a well-known adver-
tising man. "I'll predict a sell-out."
"It certainly is a beauty and in keep-
ing with the good taste shown on the
Currier and Ives series," says the vice-
president of a Boston company.
"I settled an estate recently of an
old cousin of my mother, and among
the household effects were two of these
Rogers groups."
"As usual the Travelers calendar is
interesting and decorative," writes the
director of advertising of a well known
magazine. "When I was a small boy on
a Connecticut farm we had one of these
statuettes."
"To an oldtimer like myself who
grew up in a small town where the
Rogers groups were regarded as real
works of art," writes an insurance
editor, "this calendar will recall happy
days."
"The selection is very clever, and
will be sure to cause much favorable
comment," predicts a Connecticut
woman. "It may indeed rival the fine
one on Currier and Ives."
October 26, 1938
"You have selected a subject which
is extremely interesting to us and we
consider your calendar a fine tribute to
the memory of John Rogers," writes
the Assistant Secretary of a New
England institute.
"We should appreciate receiving
another calendar to be placed in our
file of material relating to John Rogers.
We can then display the one we already
have near the Groups."
"It's a very good job and retains the
'American' interest," comments a New
York business man. "It ought to go
over well."
"I was brought up in the company of
Rogers Groups, and when I first joined
the Salmagundi Club in New York, the
Club then occupied the former studio
of Rogers in West 12th Street," recalls
the sales manager of a large publishing
concern.
"You will know that my interest in
these Victorian pieces has been and is
very great. They represent a phase of
art appreciation in America which was
almost universal.
"As 'Americana,' a phase of life and
times, the calendar is magnificent, and
it will be a collector's item, as all your
calendars have been. It merits wide
appreciation, which is certain to be
met."
"It is an extremely creditable per-
formance and must be one of great
interest to countless people," writes an
antiquarian.
"Another distinguished and original
job," comments a well-known adver-
tising man. "I'll predict a sell-out."
"It certainly is a beauty and in keep-
ing with the good taste shown on the
Currier and Ives series," says the vice-
president of a Boston company.
"I settled an estate recently of an
old cousin of my mother, and among
the household effects were two of these
Rogers groups."
"As usual the Travelers calendar is
interesting and decorative," writes the
director of advertising of a well known
magazine. "When I was a small boy on
a Connecticut farm we had one of these
statuettes."
"To an oldtimer like myself who
grew up in a small town where the
Rogers groups were regarded as real
works of art," writes an insurance
editor, "this calendar will recall happy
days."
"The selection is very clever, and
will be sure to cause much favorable
comment," predicts a Connecticut
woman. "It may indeed rival the fine
one on Currier and Ives."
The Travelers Calendar
DURING the same period in which
Currier and Ives were producing their
colorful lithographs, a man by the name of
Rogers was offering plaster casts of little
statuary groups to the public. It was one of
the earliest attempts to model popular sub-
jects and probably the first time that such
art work was available to the public at
reasonable prices. Rogers, to use his own
words, "published" his groups.
John Rogers was born in Salem, Mass., on
October 30, 1829. At the age of 16 he was
sent to Boston as the apprentice to a mer-
chant. He cared little for that work and later
tried his hand as a machinist and as a
draughtsman. While working in Manchester,
N. H., he discovered some good clay. He
whittled a few tools, and began modeling for
his own amusement. In the winter of 1858-59
he was without employment and took the
opportunity to go to Italy for a brief period
of study.
Returning in 1859, he became a surveyor's
draughtsman in Chicago. The U. S. Sanitary
Commission held a fair that year. As a dona-
tion, Rogers modeled a small group which
he called "Checker Players" (not the same as
"Checkers up at the Farm"). The group was
auctioned off to the highest bidder. It
brought $75.
Rogers immediately saw that if one group
could be sold at that figure, there was a pos-
sibility of selling many groups, especially at a
lower price. He recalled that he had seen the
Italians making plaster reproductions. He
hastened to New York and began experi-
menting. Rogers hired men to peddle them
about the streets and soon had his first taste
of favor, fame and fortune.
The models were first made in clay.
Around this was poured a flexible glue of
Rogers' own formula. The mold was cut
open, the clay original removed, and plaster
poured in. As the groups became more com-
plicated and the number of orders increased,
Rogers found that he had constantly to re-
pair the original. This led him to employ a
bronze-maker to make a metal original from
which many molds could be made without
damage. A number of these bronzes will be
displayed in the John Rogers room to be
opened in the new wing of the New York
Historical Society late in 1938.
The outbreak of the civil war naturally
suggested war subjects, of which he modeled
eighteen. There was little of the horrible side
of warfare and most of the scenes applied
equally to northern or southern activities.
For instance, "The Town Pump" depicts a
soldier stopping to chat with a girl as he gets
a drink of water; "The Camp Fire" shows a
soldier who hopes to improve his rations by
making friends with the cook; "Mail Day"
and "Parting Promise" involve emotions
common to soldiers of either side. In fact,
"Taking the Oath" quite appealed to the
South because of the beautiful Southern
woman glorified in that group. However, the
bulk of the sales were in New York, New
England and the Middle West.
Rogers established a home and a studio in
New York where he worked until 1878 in
which year he moved into his newly built
home in New Canaan, Conn. A separate
building on the premises housed his studio.
It is estimated that a total of nearly 100,-
000 casts were made from approximately
eighty different subjects. The groups may be
divided into three general classifications, —
civil war, every day life, and literary sub-
jects. They represented a number of different
of
John Rogers Groups
1939
[Illustrations rendered in water colors by Morton C. Hansen]
occupations, a variety of settings, and many
contemporary costumes. Most of them
weighed more than one hundred pounds
when packed for shipment. In spite of their
fragile nature, they were shipped safely sur-
rounded by sawdust in wooden boxes. Buyers
were warned not to lift the group out of the
box but to lift the box off the group.
The earliest groups were eight to sixteen
inches high; the later groups, 'twenty to
twenty-two inches in height. By mass pro-
duction and distribution, the price was kept
down to a point where many could afford
them. In many a home, a Rogers Group was
the center of interest in the parlor. It usually
stood on a table at a bay window where it
could be seen also from the street, perhaps as
an indication of affluence or culture. Many
were used as gifts. "Playing Doctor," "The
Charity Patient" and "Fetching the Doc-
tor" were seen in doctors' waiting rooms.
Rogers Groups were good sculpture. The
composition was good; the poses interesting;
the portraits faithful. For good-looking
models, Rogers had only to call for his wife
and children who posed for many of the
groups. Joseph Jefferson and Edwin Booth
also posed for Rogers. Most of the subjects
contain a delightful bit of humor. Even the
most serious are free from any harshness.
The story in each group is evident even with-
out the title. The human-interest angle is the
same as that which later made The Saturday
Evening Post covers so popular.
Rogers loved animals. He put cats and
dogs into his groups whenever there was
opportunity. His rendition of the horse is re-
markably perfect. It is typical of the man
that he spent considerable time studying the
anatomy of the horse from dissections made
at the Veterinary College in New York City.
He made a number of studies of the skeleton
and muscle system which he made available
to students at cost. In the building on
JANUARY
Weighing the Baby (1876). A scene in a
country store. A lady has taken her baby
into the store to be weighed, and has placed
it in the grocer's scales, which are on the
counter. She smiles with pride at the high
weight indicated. The old grocer stares in
astonishment. Neither see a mischievous
boy who, by tugging at the scales, has in-
creased the weight registered. The lady in
the group is the sculptor's wife and the small
boy is his son Charles. The cheeses, ginger
jar, whisk-brooms and account book are
interesting as typical furnishings of a store
of that period.
FEBRUARY
The School Examination (1867). A shy
young miss is reciting for a visitor who is
West 12th Street, he had a special passage-
way made so that horses might be led easily
into his studio.
Professional art critics of the period were
not enthusiastic about Rogers Groups, prob-
ably because they did not conform to Greek
or Roman classic standards; possibly be-
cause they, the critics, were not needed to
interpret the statuettes to the public. But
Rogers had no patience with the kind of
sculpture which would show American
heroes in togas and flowing robes. He was
interested in simple rather than epic situa-
tions. He was the first to carve the iris of the
eye and eliminate that blank staring effect
of the round eyeball.
Of course he had some imitators who
hoped to profit by the vogue he had started.
But their work lacked perfection in both
original and copies, and even an amateur
collector can tell a Rogers Group at a glance.
Rogers exhibited his groups at the Paris
Exposition in 1867; at the Columbian Expo-
sition at Chicago in 1893 and at the National
Academy of Design in New York annually
from 1860 to 1892. He was made a member
of the National Academy in 1863. His groups
won many awards but his chief reward was
in seeing them exhibited in the homes of his
contemporaries for nearly forty years. Com-
plimentary letters came from such prominent
persons as Abraham Lincoln, Henry Ward
Beecher, Edwin M. Stanton, William Cullen
Bryant.
In 1890, he was afflicted with palsy which
made it difficult for him to work. His last
group was made for the World's Fair in
1893. Called "The Watch on the Santa
Maria," it portrayed that dramatic moment
when land was sighted by the sailors of
Columbus' caravel.
John Rogers died at his home in New
Canaan in 1904. Few artists have had, dur-
ing their lifetimes, such recognition.
probably a member of the school board. The
teacher is anxious about the performance of
her pupil.
MARCH
The Referee (1880). Two young ladies
standing back-to-back are being measured
by an old gentleman in an effort to deter-
mine which is the taller. There seems to be
little difference between them until it is ob-
served that one of the girls is standing on
tip-toe.
APRIL
Neighboring Pews (1884). Two ladies have
arrived late at church. A young man in a
neighboring pew leans forward to help the
good-looking young lady find her place in
the hymnal. The old lady scowls at the pref-
erence being shown. A young lad in the frontl
seat tries on his father's gloves and high hat,/
MAY
School Days (1877). The principal figure isl
a man with a hand-organ. In front of him|
stand two children — a boy and a girl. The I
girl is intently watching some miniature I
figures in the front of the organ. The boy is I
puzzled as to how to recover his hat which |
has been snatched by the monkey.
JUNE
Coming to the Parson (1870). This is I
known to be by far the most popular group. |
It is estimated that 5,000 copies were sold, I
usually for wedding gifts. It depicts a young I
couple appearing before the parson to have I
the marriage ceremony performed. The I
parson looked up from a newspaper entitled I
"The Union." Foreshadowing the future,
possibly, a cat and a dog show hostilities I
toward each other.
JULY
Checkers up at the Farm (1875). A very I
attractive group, second only to "Coming to I
the Parson" in popularity. A farm boy,
seated on an upturned basket, is playing I
checkers with a visitor from the city. He I
points with glee at the move which defeats I
his opponent. The visitor remains good-
natured but is puzzled as to just how he was I
beaten. The city man's wife looks on. The I
child in her arms is about to kick one of the |
kings off the board.
AUGUST
We Boys (1872). The horse is standing i
brook. The boy on the horse's back has
dropped the reins and is trying to regain
them with the stick in his hand. The horse is
frightened by this as well as by another boy
who is trying to climb upon the horse's back.
SEPTEMBER
The Favored Scholar (1873). The young I
man school-teacher is explaining a sum on a
slate to a young girl at his side. It isobv
that there is some personal "interest. A boy
sitting on a bench out of sight of the teacher
tries to distract the girl by putting wood-
shaving curls on his ears.
OCTOBER
The Peddler at the Fair (1878). The
jewelry peddler sits on a worn-out old horse.
From the peddler's hat hang necklaces. On
the saddle is a box of trinkets. A young
woman holds a necklace in her hand and
entreats her male companion to purchase it.
He rather sulkily puts his hand in his pocket
to get the necessary money.
NOVEMBER
The Tap on the Window (1874). A young
man in the act of proposing to the lady of his
choice has apparently been spied upon. For,
at the critical moment, a tap on the window
disturbs him.
DECEMBER
Country Post Office (1864). The cobbler,
who is also postmaster, has just opened a
sack of mail. He holds a letter in his hand
and pretends to have great difficulty in
making out the name of the person to whom
it is intended. The young lady, however, has
long since recognized the handwriting and
reaches impatiently for the letter.
n
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The Travelers
^—1939 Calendar w^
of JOHN 'ROGERS QROUPS
oT A typical advertisement such as John Rogers Y.
*/l used in periodicals oj the /Sjo's and zSSo's. Jy"*"
^
By David Bourdon
An intimate regard
for everyday life
made a homely art
John Rogers, 19th-century people's artist
once almost a part of many good homes,
is now rediscovered and eagerly collected
Coming to the Parson is typical of the storytelling
content of much of Rogers' affectionate work.
For nearly three decades in the 19th century, John
Rogers was a household name, renowned for his plas-
ter statuettes which adorned middle-class parlors all
over the country. His specialty was a type of storytell-
ing sculpture, containing human figures, known as
Rogers' Groups. In many ways he was the counterpart
to Currier & Ives, the immensely successful New York
firm of printmakers, who suffused most of the Ameri-
can print market with inexpensive lithographs. Like
Currier & Ives, Rogers stressed mostly the happier
aspects of American life in an attempt to make his
work more appealing to the widest possible audience.
Rogers excelled at modeling domestic and rural
scenes (young couples courting, old folks playing
chess), all rendered in a naturalistic style that over-
looked no homely detail. His special gift was for cap-
turing the quintessential poses and expressions of
specific types of people— soldiers, slaves, doctors,
preachers, peddlers, grandmothers and country belles.
Rogers' subject matter sets him apart from most
other American sculptors of his time. Moreover, he
made his sculpture in a way that seems more appropri-
ate to the 20th century: He mass-produced his work
by "publishing" large editions in cheap plaster.
Rogers was a strong abolitionist. His Slave Auction,
now a rare work, did not sell well at $5 a
copy because it was considered too controversial.
Between 1860 and 1893 Americans bought about
80,000 Rogers' Groups at an average price of $14. The
sculptor preferred "to put them at a price that no one
who likes them need hesitate to buy." The Groups
were ideal gifts for almost any occasion. One Group,
called Weighing the Baby, was the inevitable choice
for new parents. Another Group, Coming to the Par-
son (above), was so popular as a wedding gift that
about 8,000 copies were sold, accounting for one-tenth
of Rogers' total production.
Everything about John Rogers, the man, indicates
he was the personification of old-time American vir-
tue: honest, thrifty, hard-working and enterprising.
He was in life what most men are only in their obitu-
aries: a dutiful son, a dear brother and a loving father
of seven children.
He attained maturity as an artist during a period
that is not prized today for many of its esthetic inven-
tions. It was an era in which artists did not feel they
had to be innovative for innovation's sake, and so
most painters and sculptors were quite content to
make decorative objects that in no way jarred their
audience. To most of them the concept of avant-garde
art would have been as remote as Mt. McKinley.
Rogers, who belonged to the mainstream of American
society, wanted to please his public with works that
expressed simple sentiments in a forthright way, fre-
quently with a dash of humor, sometimes with a touch
of pathos.
Rogers' Groups celebrate the simple pleasures and
Color photographs by Yale Joel
51
Sculptor of and for the people
pastimes of 19th-century American life in a style that
is his own.
Although his father made a decent salary at the rail-
road company in Salem, Massachusetts, where Rogers
was born in 1829, he apparently could not afford to
put young John through Harvard, where so many
men of the Rogers family had studied. Instead, Rogers
went to the English High School, which trained young
men for a life in commerce. One of his teachers, how-
ever, taught him to draw, and that awakened his in-
terest in art.
At 16 Rogers took a clerical job, which paid an an-
nual wage of $50, in a Boston dry goods store. Then
he took a better-paid position as a surveyor's assistant
with the Boston Water Works.
In Boston, Rogers visited Horticultural Hall and
paid 25 cents to see Hiram Powers' celebrated marble
sculpture The Greek Slave (Smithsonian, November
1972), then making a tour of several American cities.
About a dozen years later he asserted that The Greek
Slave's fame was due entirely to her chains. "The
chain showed that she was a slave and the whole story
was told at once. There are plenty of figures as grace-
ful as that and it is only the effect of the chain that has
made it so popular." The remark is illuminating be-
cause it helps explain why Rogers, in his own work,
placed so much importance on storytelling accessories.
In 1848, during a visit to a Boston friend, he was
shown a clay figure that the friend had modeled. Rog-
ers was inspired to do the same, so he bought some clay
and set to work. "I was quite successful," Rogers re-
called later. "I would have been glad to take this up
as a business," he continued, "but my relatives thought
it offered a poor support, and favored another
David Bourdon, a former Associate Editor of
Smithsonian, is now art critic for the Village Voice.
In 1864, at height of Civil War, Wounded Scout
depicted escaped slave aiding Union casualty.
offer which I had for a position in a machine shop."
The machine-shop job was with Amoskeag, the
huge complex of bustling mills in Manchester, New
Hampshire. Rogers spent about six years there.
When he was 28, Rogers left the mills. He found a
job as master mechanic on the Hannibal and St. Jo-
seph Rail Road, and in 1856 made the thousand-mile
railroad journey from Boston to Hannibal, Missouri.
The town seemed scarcely civilized. "Unless they im-
port some Yankees," he declared, "I'm afraid they will
never make much of a place of Hannibal."
Rogers lost his job during the money panic of 1857,
when the railroad closed down its machine shop. He
returned to Massachusetts with a renewed determina-
tion to become a sculptor. With his own savings, the
financial backing of an aunt and uncle and the reluc-
tant approval of his family, Rogers sailed for Paris in
the fall of 1858 to acquire the technical training nec-
essary to an aspiring sculptor.
52
Gamesmanship, as it was employed in an earlier time,
furnished the gentle sculptor with innocent scene.
By April 1859, after less than a year in Paris and
Rome, and unimpressed by what he saw, Rogers was
back home in Roxbury. After five more months there,
during which he was unable to find employment, he
went job-hunting all the way to Chicago, where he
finally found a job as a draftsman in the city surveyor's
office. In Chicago, Rogers was invited by some women
in his church to produce a statuette that could be
raffled off at a charity bazaar. He modeled a clay sculp-
ture portraying two men playing checkers. His checker
players attracted considerable attention and were
raffled off for the whopping sum of $75. The most en-
couraging thing about all this was that two or three
disappointed ticket-holders inquired about buying
other pieces of sculpture. The success and attention
were enough to give Rogers heady visions of fulfill-
ment, fame and profit.
He immediately went to work on two more subjects,
one of which was a slave auction.
Of The Auctioneer, Rogers wrote: "I have rather
idealized and made such a wicked face that Old Nick
himself might be proud of it— two little quirks of hair
give some impression of horns. The woman will be
more nearly white and she and the children will come
53
Sculptor of and for the people
in very gracefully. I am entirely satisfied to stake my
reputation on it and imagine the present excitement
on the subject will give it great popularity."
He intended to produce the sculptured group in a
large edition to assure profit and popularity. "My plan
is to get subscribers for it here and then take it to New
York and get it cast. I shall then send copies to all the
large cities and dispose of them at fair prices so as to
become known and have them popular."
Declaring that he was going to make a "perfect
balloon" of himself, the 30-year-old ex-draftsman set
off for New York, where "promising artists," then as
now, are sometimes rewarded.
From the very start of his career in New York, Rog-
ers displayed real flair for imaginative merchandising.
To make his Slave Auction (p. 50) more appealing, he
hired a black man to go about on the streets, hawking
the group. Rogers' black agent had scarcely started on
his rounds when he had the good fortune to cross the
path of an important abolitionist, Lewis Tappan, who
not only bought a Slave Auction on the spot, but also
gave the startled vendor a list of prospects.
Despite considerable enthusiasm in abolitionist cir-
cles, Slave Auction did not prove to be very popular.
It "tells such a strong story," Rogers lamented, that no
store would stock it "for fear of offending their South-
ern customers." Only 30 or so copies were sold, and
surviving casts are rare today.
His next subject, a new version of Checker Players,
was calculated to offend no one. A fancy goods store
on Broadway stocked it and put a retail price of $5 on
it. The store people expressed interest in selling more
works by Rogers, but tried to talk him out of making
realistic genre groups in "cheap" materials. Rogers in-
sisted that his works were "not intended for rich peo-
ple's parlors, but for the more common houses in the
country. ... As I want them popular, they must be put
low or else nobody but the rich will buy them and
they would not want them in their parlors. . . . Large
sales and small profits is the motto I must stick to."
The Civil War provided Rogers with a whole new
range of topical subjects and stimulated his imagina-
tion to make some of his finest work. One of his most
eloquent and powerful subjects, Wounded Scout (p.
52) of 1864, shows an escaped slave helping an injured
Union scout through a swamp.
By 1864, when he was 35 years old, John Rogers had
reason to be satisfied with what he had accomplished
since turning professional five years earlier. His work
was increasingly sought after by the public, he was, on
occasion, a critical success and he married happily.
James Jackson Jarves, probably the most discerning
art critic of the time, was definitely in favor of Rogers'
Groups: "Although diminutive, they possess real ele-
ments of greatness. In their execution, there is no
littleness, artifice or affectation. . . . His is not a high
art, but it is genuine art of a high naturalistic order,
based on true feeling and a right appreciation of hu-
manity. It is healthful work, and endears itself by its
mute speech to all classes."
The first group that Rogers designed after his mar-
riage in 1 865 to Harriet Moore Francis, a young New
A Southern woman reluctantly pledging allegiance to
the Union— one of Rogers' most popular pieces.
54
York music teacher, was inspired by a story told to him
by his wife's uncle. It portrays a Southern woman, re-
luctantly pledging allegiance to the Union in order to
get food for herself and her son. Having made his ini-
tial sketch for Taking the Oath (opposite) in Septem-
ber, Rogers worked hurriedly to have the group ready
for the Christmas holidays. He sold more than 300
copies that season, and Taking the Oath retained its
popularity for many years afterward.
Between 1859 and 1893 Rogers produced a total of
about 90 groups, in addition to numerous portrait
The hurdy-gurdy man, a monkey and entranced
children constitute, what else?, School Days.
busts, garden figures, decorative vases and flower
boxes. He frequently pressed his wife and children
into service as models. His wife and two-year-old son
David Francis posed for the mother and child in The
Sitter, one of a pair of statuettes intended to be placed
at opposite ends of a mantlepiece or table. (The sec-
ond part shows The Photographer, adjusting his
camera with one hand and holding the articulated
stick figure of a soldier in the other.) Two more Rogers
children, Katherine and Charles, posed for the en-
thralled children being entertained by the hurdy-
Believed to be a self-portrait, Traveling Magician
models Rogers' arched eyebrows, aquiline nose.
gurdy player in School Days (left). Katherine also
posed for the dozing assistant with the tambourine in
Traveling Magician (above). The magician himself
may be a self-portrait, since he has, in addition to the
requisite arched eyebrows and Mephistophelian curls,
an aquiline nose that was unmistakably similar to
Rogers' own.
Throughout his career Rogers proved himself to be
a remarkably resourceful salesman. He advertised
widely, of course, and often exchanged his groups for
free advertising space in newspapers and magazines.
He distributed illustrated catalogs of his wares. He
also marketed or licensed photographic reproductions
of the groups in the form of album photographs, ster-
eopticon views and magic lantern slides. His thriving
enterprise reached its zenith in the mid- 1880s, during
which his luxurious Union Square showroom became
one of the city's most pleasant attractions.
Suddenly, in the late 1880s, Rogers' business
dropped off sharply. The decline was partly due to a
plunge in the economy which eventually became the
financial panic of 1893. But the chief reason for the
decline was a change in the public's taste. Rogers'
Groups suddenly appeared naive and unsophisticated
to the younger, more urbane generation, who ushered
55
in what became known as the gilded age. Along with
wax flowers, haircloth furniture and other Victorian-
type furnishings, Rogers' Groups were banished from
fashionable parlors.
Coinciding with his waning popularity, Rogers'
health began to fail in about 1891. The ailment start-
ed out in his right hand, as a slight tremor that did not
respond to treatment. Eventually the tremor disabled
him to such an extent that he was no longer able to
model any sculpture. In 1893 he sold all his rights in
the groups to the foreman of his plaster shop, and the
business folded soon after. By the time Rogers retired
to New Canaan, Connecticut, a couple of years later,
his body was nearly doubled over. Almost mercifully,
bronchial pneumonia set in and served as the coup de
grace in July 1904.
Rogers' reputation was all but totally eclipsed for
several decades. But a new audience for his work
began to grow and, in 1967, the sculptor was made in-
tellectually respectable by the publication of David
H. Wallace's John Rogers, The People's Sculptor
(Wesleyan University Press), a comprehensive study of
Rogers that is both scholarly and readable.
One of John Rogers' heirs, a 29-year-old great-
grandson who is also named John Rogers, spearheads
the current revival. The present-day John Rogers, who
works as a new products analyst with U.S. Plywood,
inherited a lot of family memorabilia. Since he was
living in New Canaan, he decided he'd personally re-
store his ancestor's old studio, which is now main-
tained by the New Canaan Historical Society. Begin-
ning in the fall of 1969, he spent most of his spare time
completely refurbishing the place. While working in
the studio in 1970, he was approached by two enthu-
siasts who persuaded him to head up a group of
Rogers' Groups collectors.
Members own 1,800 of the 2,500 surviving Rogers'
Groups that have been accounted for. Rogers' Groups
are still highly collectible, though they turn up on
the market ever less frequently, and seldom in mint
* ,
*
.)
1 ^ ■
Live Rogers group shows the father of seven,
with two yet to come, when photo was taken in 1876.
Namesake and great-grandson, John Rogers, speaks
at a current meeting of collectors, The Rogers Group.
56
condition. The most common Rogers' Groups sell in
the $300 to $700 range, but scarce pieces will bring
$1,000 and up. More than 40 copies each are known to
exist of Taking the Oath and Coming to the Parson,
while surviving casts of Slave Auction and Checker
Players are exceedingly rare. The groups are plenti-
ful in a great many museums, including the Smithson-
ian's National Collection of Fine Arts, which possesses
ten. A copy of Neighboring Pews occupies a promi-
nent position in the Lincoln Sitting Room of the
White House (though it was not owned by Lincoln).
The best and most complete public collection of
Rogers' Groups, including 38 of the bronze master
models, is in the New York Historical Society.
For a few collectors, the Rogers' Groups are not
enough; they have to collect anything associated with
Rogers, from lantern slides to personal mementos. For
instance, Herman and Eleanor Deutsch of East Mead-
ow, Long Island, own 78 groups (76 in plaster, two in
bronze). They also possess plaster life masks, made by
Rogers of his own face and those of his parents. They
treasure their 14 glass slides, all showing Rogers'
Groups, which they acquired along with their century-
old magic lantern. In addition, they keep a fancy
stereopticon with vintage views of Rogers' Groups.
Paul and Meta Bleier of Valley Stream, also on
Long Island, are just seven pieces short of a complete
collection of Rogers' Groups. They have 78 plasters
and one bronze. The walls of their living and dining
rooms are literally covered with Rogers' Groups. They
have written a useful handbook John Rogers' Groups
of Statuary, A Pictorial & Annotated Guide for the
Collector, which they published themselves in 1971.
Nostalgia plays a part in the John Rogers revival.
Still, his work speaks more clearly of the American ex-
perience of his time than that of his contemporaries
who were part of the academic mainstream.
Rogers is a unique figure in the history of American
sculpture. He might be said to comprise entirely by
himself, a "one-man group."
'■
* i*
ft <*-^
By Les Beitz
TURRENTLY appearing in
the advertising columns of
three nationally circulated
antiques publications is the
following: WANTED. Rogers
Groups. Will pay top prices.
Write, describing subject,
condition . . . (and so on).
What are Rogers Groups?
Anyone who is familiar with
the American "genre" paintings
by Norman Rockwell that were
featured for years as cover
subjects on the Saturday
Evening Post need only translate
that artist's remarkable social
documentaries into plaster. For
John Rogers was, to a couple of
earlier generations of Americans,
the social chronicler of the
masses— only his media was
parlor sculpture, rather than
full-color paintings for a leading
weekly magazine.
Art his tor ans are generally
agreed that Rogers didn't
produce great sculpture, in the
sense that his works exemplified
the highest (aesthetic, perhaps?)
standards of the craft. But all
acknowledge this: that John
Rogers captured, as no one else
had, the customs, emotions,
habits, follies— the simple drama
of incidents in the lives of plain
folk— the story of everyday
Americans during the "Gilded
Age."
A Rogers statuary group is apt
«to be quite sentimental. It will
radiate nostalgia. Its theme, of
course, will be a simple one. No
caption will be required to
explain it. All this is because
John Rogers modeled his works
to reflect the feelings and
interests of unsophisticated,
homey people.
Art experts notwithstanding,
John Rogers contributed
measurably to the lore of
American Sculpture. The
"Wanted" ad cited at the outset
here is but one manifestation
that his accomplishments have
come to be recognized as an
exceptionally important force in
the folk history of our people.
John Rogers was born in 1829
in Salem, Massachusetts. As a
youngster, his bent was toward
John Rogers: S
Story Of The R
working with his hands-crafting
things. It seems his nimble
fingers were particularly adept at
fashioning things "in the
round."
When he undertook the task
of making a new weathervane to
replace a sorry one atop a
neighbor's stable, young Rogers
was keen to give his trotting doe
subject dramatic effect from all
sighting points, rather than
merely settling for a flat,
silhouette cut-out of sorts— the
usual treatment afforded such
utilitarian objects. His trotting
dog became, in effect, a clever
example of sculptured copper.
His Bowser had character. Here
is a farm dog (like all good farm
dogs) that ate well!
Because of a certain naivete
that appears to pervade the
manner, or technique, of much
of Rogers' work, some art
biographers have assumed that
he was entirely self-taught. Not
necessarily so.
Research discloses that upon
completion of elementary
schooling, Rogers went to work
as a dry goods clerk in Boston. A
cloth house proprietor
recognized his sense of design
and induced him to make a trip
to Spain to select fabrics for
exclusive importation. Upon
return, Rogers broke away from
that profession and began the
study of civil engineering with
emphasis upon the machinist's
trade.
In 18S6 we find him in charge
of a railroad repair shop at
Hannibal, Missouri. The foundry
there produced castings for
sundry purposes and it was here
that Rogers began modeling in
clay.
He went to Europe again in
1858, returned the following
year to Chicago and entered a
surveyor's office as
draughtsman.
The significant thing about
this is that Rogers had, during
the stay in Europe, been
exposed to sculptors— real, live
sculptors— in action! There were
dozens of "ateliers" in operation
throughout France and Germany
during that time and Rogers
certainly wasn't the type to be
merely an idle onlooker. Hence,
upon return home, his quick
movement into the realm of
drafting, an essential in the
exacting mechanics of producing
effective sculpture.
That same year, 1859, he
came up with his first statuary
work to be cast for sale. It was
titled 'The Slave Auction,"
sometimes referred to as "Uncle
Tom's Cabin ... in plaster."
Rogers placed it on exhibition in
New York. Contemporary
accounts say it was "well
received." Encouraging, but not
too many sales.
Later that same year he
modelled the piece that
catapulted him to sudden
fame— a wonderful group titled
"Checker Players," which he
exhibited at the Cosmopolitan
Bazaar in Chicago. Hundreds of
viewers expressed desires to own
a copy of this delightful
conversation piece.
The enthusiastic acclaim of
admiring crowds at the Bazaar
convinced Rogers that he had
"clicked." The rest was to be
pretty much a foregone
conclusion because John Rogers
was, in addition to his capacity
as an extremely competent
craftsman, a mighty sharp
merchandiser.
So in 1860, Rogers went into
the business of producing parlor
statuary in a big way. With
inspiration and zest, he created
two more realistic subjects that
were heavily slanted toward
touching the heartstrings of
ordinary folks everywhere— 'The
Village Schoolmaster," and "The
Fairy's Whisper." They sold like
hotcakes.
Fired with avid dedication
now, Rogers embarked upon a
career that was to span more
than thirty years and bring
about the creation of eighty
different published groups.
Here's how he worked:
With meticulous care, he
modeled his original subject in
clay. Then he supervised the
process of preparing a mold
from it in order to effect the
casting of a replica in bronze.
culptor--The
ogers Groups
Photos Courtesy of the Herschel C. Logan Collection
This was the master unit from
which his workmen made other
molds to mass produce the final
product in a sort of hard plaster
formula.
After emergence from the
mold, the piece was covered
with an oil-based paint, usually a
tan putty color or smoky gray.
A few were finished off in a
somewhat brownish tone, to
simulate granite. They were
beautiful!
And the selling end of it was
easy. Display advertising in
national magazines did the trick,
simply because newspapers of
the time heralded each new
emission from his studio as a
significant event. The groups had
price tags of from $15 to $25,
depending upon the intricacy
(and consequent casting
expense) of the particular
subject. Each creation was
patented.
By 1865, in high gear now,
Rogers had twenty-five
workmen turning out hundreds
of plaster reproductions of each
new subject he personally
modelled with his own hands.
He was "in the chips"— a success
story in the fullest sense of
Yankee Ingenuity tradition.
In certain respects the
enterprise was a percentage
game, for some of his statuary
groups failed to capture the
public fancy as well as others.
On some subjects, a hundred or
so reproductions constituted the
completed issue. Needless to say,
these limited editions are
extremely scarce today. One
group, 'The Sharpshooters," (a
soldier subject done in 1860,
foretelling an episode of the
impending Civil War), is. one of
the rarest Rogers
groups— commands a small
fortune these days.
Other themes, notably his
series of three Rip van Winkle
anecdotal compositions, sold in
the thousands. It is estimated
that in the three decades of
Rogers' fame, over a million
dollars worth of statuary groups
were displayed atop
'unw iiuwia v^uuiny,
marble-topped Victorian tables
from Maine to California. Big
business for that era, beyond a
doubt.
John Rogers had done
something no other American
sculptor had even come close to
doing. He had created and
developed an appealing line of
statuary goods that people
everywhere could understand,
could appreciate, could afford to
buy. And they did buy, to place
in their very own homes. In
bringing about this phenomenal
end result, John Rogers was
truly unique.
By 1892, however, Rogers'
star had dimmed. With other
gaudy elements of late Victorian
decor, his work went out of
vogue and he was forgotten.
Thousands of his intriguing
creations, superb examples of
one of our most distinctive
Americana art forms, were
carelessly stored away, broken,
discarded.
Surviving examples of Rogers
groups occasionally come to
light from the lofty attics of
Victorian mansions along Main
Street of once flourishing
communities throughout the
country. No complete collection
of his eighty subjects exists
today. The New York Historical
Society has an outstanding
showing of them, near complete,
number seventy-eight works— all
but two very rare subjects.
. Every Rogers buff hopes to
stumble upon "Camp Life, or
The Card Players," an 1862
group of which no copy is
known. It depicts two soldiers
playing cards on an army drum.
The other classic rarity is an
1860 piece called "The Farmer's
Home." A fortune awaits the
discoverer of one of these.
Which brings up the matter of
value, the so-called going prices
on Rogers groups. Here is an
excellent example of how wrong
the "book" can be. Two popular
Antiques Handbooks (pricing
guides, really, that list, describe
and assign a fair market value to
thousands of items of collector
wnicn mcluded separate lectures
interest) show Rogers groups to
be in the $60-$ 120 range. A
couple of exceptionally rare
subjects hit the $150 mark.
These prices are just about 1 00%
off target.
Scan over most any antiques
publication these days and you'll
find knowledgeable dealers
advertising to the effect that
they'll BUY Rogers groups at
prices quoted in established
pricing guides. This means that
when a dealer secures a group at
the "recognized" price, tacks on
his usual mark-up, pays for his
advertising both to acquire
more, and to sell the ones he
has— well, the going rate is now
TWICE the handbook quote.
So the general rule of thumb
on Rogers prices is: $100 plus,
for a relatively popular subject
and up to $350 for "Mail Day,"
a scarce one. All this, of course,
is contingent upon that
all-important factor governing
antiques values in
general . . . sound condition.
It goes without saying, plaster
statuary that has survived a
hundred years or more, still in
near perfect condition, calls for
some bonus dollars when the
dickering gets under way.
John Rogers closed his New
York studio in early 1893 and
retired to his fine residence at
New Canaan, Connecticut. He
turned his attention to the
preparation of anatomical
portfolios in the interest of art,
and busied himself with making
garden and lawn statuary for the
spacious grounds of his estate.
He was under no
disallusionment. He was
well-to-do, contented in the
afterglow of the achievements
he's scored during that
remarkable professional career,
and he was happy in his role as
host at social activities with
family and friends athome. He
died there in 1904.
John Rogers left his mark on
America. He had made his
statuary "performers" give
pleasure to a wide audience; had
made a good living at it, too.
her efforts in the field of historic
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Rogers Groups Now Sought
by Collectors of Antiques
Popular Statuettes of Post Civil War Fame Find Their
Way Into Museums at Last
Salem, Mass.
Special Correspondence
EOGERS' group models or statu-
ettes, of which about 100,000
were distributed over the
United States in the period immedi-
ately following the Civil War, are
now being collected as antiquities.
Second-hand dealers five years ago
would gladly accept $1 to get rid of
one of the statuettes; today they are
said to be brihging from $15 to $20, if
in good condition. The task of gath-
ering a complete set is being under-
taken under the direction of officials
of the Essex Institute of Salem and
the Society for the Preservation of
New England Antiquities in Boston.
The Essex Institute has already a
collection of about 50, said to be the
largest in the country. Some of the
original working models in bronie
are now on exhibition in the Metro-
politan Museum of Art in New York
and some in the Brooklyn Museum.
John Rogers was born in Salem in
October, 1839, and received his edu-
cation in the public schools of Bos-
ton. He was obliged to go to work
while still young in a dry goods
store and later in a machine shop.
Through a happy chance, however,
he was enabled to spend the year
1858 59 in Europe in study and on
his return he went to Chicago, where
he modeled for a charity fair his
first and one of his best groups,
"Checkers Up at the Farm."
This statuette represents a famil-
iar New England scene, with the city
visitor at the home of the farmer.
After the enjoyment and work of the
day, a game of checkers Is pro-
posed. In spite of all his ingenuity the
city visitor has at last been forced
by the clever Yankee into a position |
where he cannot "move" without j
being "taken." The face of the j
farmer expresses a simple childish
joy at triumph over the rich and
cultured city man. The accessories
are true to life: the checkerboard
rests on a flour barrel, the farmer
sits on a bushel basket. The face and
attitude of the city man represent
deep study, but his surprise and
amusement at being defeated is quite
apparent. In the background there
;are the wife and child of the city
visitor, the former studies the board
in surprise, while the child tries to
kick the. checkers off the board.
Gelatine Moulds Aid
It was about ' this time when
Rogers completed his first work, that
gelatine moulds were invented, and
the casting in these moulds was
carried forward to such perfection as
to enable the sculptor to reproduce
his work accurately and with little
cost. He started in a small way with
one Italian worKmgiu-<--' ..... — &,
which was exhibited in the Boston
Museum of Fine Arts, was "John
Eliot and the Indian."
Among his groups and single
statuettes were several portraits,
notably those of Beecher, Washing-
ton, Lincoln and Grant. There was
also a series for which Joe Jefferson,
the actor, posed in various r61es.
Rogers was on a friendly footing
with some of the great men of his
rjice. Jeffersc.-: -fraks of him with
the greatest enthusiasm. He knew
Grant, Lincoln and Stanton, and
made a group study of these three J
men. It was declared one of the,
best portrait groups that Rogers ere-1
ated, and one of the most interesting
from, an historical point of view.
"The Football Players," one of his
last works, exhibits the same warm
ifeeling that is shown in his initial
effort. The group includes four men.
The ball has been passed to the
halfback, who is trying, with shut
jaw and compressed brow, to break
through the opposing line, but un-
fortunately for him he has been
"tackled" around the waist by a man
whose hold he tries to break by
pushing his head down, at the same
time trying to escape from' the
j clutches of another player who has
caught him' about the shoulders.
Realizing that he cannot get away
with the ball, he is passing it to a
confederate who will carry it to the
goal. ,.
Contemporary Estimates
From the creation of the "first
group to the last, Rogers produced
about fifty subjects. Their popularity
was extraordinary. The Art Arena,
referring to Rogers' work' during
the height of his popularity, said: -
'"We now come to a high order of
ability; indeed, we may call It genius
in its peculiar province, as original
as it is varied and graphic, pure in
sentiment, clever in execution, and
thoroughly American in the best
sense of the word, in everything. We
know of no sculptor- like John.'
Rogers of New York in the Old';
World, and he stand's alone In his i
chosen field, heretofore appropriated '
by painting, a genuine production of
our soil, enlivening the fancy,
kindling patriotism, and warming the
affections of his lovely and well bal- 1
anced groups in plaster and bronze.
They possess real elements of great^j
uess, and in their execution there is
no littleness, artifice or affectation.
The handling is masterly, betraying
a knowledge of anatomy and design
not common, and a thoroughness of
work refreshing to note."
James. Jackson Janes writing in
. _V. - '
the Art Idea said of Rogers that "his
pathos, nai'vet6 and simplicity of i/io- 1
tive increase with his subjects, and
give even to the commonplace almost
the dignity of the heroic. The chief
feature of his art is his power of
human expression, bestowing upon
plastic material a capacity and
variety of soul action which,. accord-
ing to the canons of some critics, it
wan useless for sculpture to attempt.
But he has been successful In this
respect and inaugurated a new tri-
umph in his department. He is a
master of those motives which help
to unite mankind into one common
feeling of brotherhood."
A later critic, William H., Good-
year in his "Renaissance and Modern
Art," commended the heroic statue
of Lincoln exhibited by Rogers at the
Columbian Exposition as a "serious
and important work of the first'
class," but he criticized the small
groups, stating that he considered
them concessions to popular tastes,
adding, however, that it is useless to
criticize an artist in such matters,
where only the public is to blame.
,Many other critics of his day con-
sidered that Rogers' fame rested on
his large works, such as the statue of
Lincoln and that of General Rey-
nolds. Another, of his heroic groups.
"ROGERS GROUPS"
SOME time in November we expect to publish a
book that should immediately take its place as
the foremost, indeed, as far as we know, the only
work of its kind in an interesting field. The book will
be Rogers Groups: 'Thought and Wrought by 'John
Rogers. It you don't know the "Rogers Groups,"
where have you been the last hundred years?
" Rogers Groups," say the authors of this new book,
"show the history of the last half of the nineteenth
century in Ainerica by sculpture, much as the Currier
and Ives prints do by pictorial art." The authors are
Mr. and Mrs. Chetwood Smith, and their book is
authorized by Miss Katherine Rebecca Rogers,
daughter of the creator of the "Rogers Groups."
There will be a full descriptive checklist and many
illustrations. Further details will be forthcoming.
Meanwhile you might want to signify your interest,
especially if you are going to want the special limited
edition.
69
i^&.v.,^;,-., .,
Among the many items
evoking the past life ?
of New York City in
the remodeled building ■'•
of the New York His,. J
torical Society is the |
sculpture of John
Rogers, which enjoyed '
a great vogue during
the last part of the
nineteenth .century.
Three of these pieces
are shown here. An
article on the new mu-
seum appears in the
Travel Section of to-
day's New York Times.
/c-*-
i
"The First Ride.
SCULPTURE
"I
A bronze plaque of the fa-
mous cowboy humorist, Will
Rogers, made by Electra
Waggoner for Amon G.
Carter of Fort Worth, and
included in a show by Miss
Waggoner in Los Angeles.
THE FAMOUS ROGERS GROUPS
A Complete Check-list and Collectors' Manual
by
VREST ORTON
Privately Printed
Illustrated with Wood Engravings from
Rogers Catalog
Group #30. THE FOUNDLING
(For description of this Group, see page 19)
Copyright, 1960, by Vrest Orton, Weston, Vermont
THE STATUE IN THE PARLOR
Sculpture is, of course, one of the oldest arts. From prim-
itive clay daubs down to the classic refinements of the Greeks,
man has expressed his most noble aspirations in the round. But
of the thousands and thousands of sculptors over centuries,
one, John Rogers, born in 1829 in Salem, Massachusetts, was
unique. Whilst others created statues for salon exhibits, for the
rarefied air of museums or in heroic size for city squares, John
Rogers, a self-taught artist who lived most of his life in New
Canaan, Connecticut, succeeded in making sculpture popular.
He was the only man in the long history of the art who was
able to place a piece of sculpture in the average home.
John Rogers produced the first of his statuary figures
(known as Rogers Groups) in 1859. By the seventies, and
certainly all through the eighties the high class and even mid-
dle class home that did not display, on the oval, marble-topped
parlor table, one of these homey pieces of sculpture was simply
out of the swim. Not only were Rogers Groups considered the
thing to have and surely the most stylish factor in the Victorian
decor, but actually they served as marvelously inventive con-
versation pieces.
Why was this so? Well, because they told, most of them,
a simple story. And the story they told was a warm, irresistible
fascinating story that the average family readily understood
and had sentimental feelings for. In short the Rogers Groups
were, in a manner of speaking, Norman Rockwell Saturday
Evening Post covers in sculpture. No caption was needed to
explain them, just as Rockwell's Post covers need no explan-
ation.
Since Rogers decided early that he would not imitate
Greek and Roman classic work but would try to represent the
feelings and interests of the common every day person, he was
able to capture, as no other American ever did, the customs,
habits, emotions, dramas and comedies of the normal family.
Sentimental, of course. Nostalgic, of course. Simple, of course.
But what is wrong with that?
(3)
From the first Rogers Group modeled in 1859, called the
"Checker Players", showing two men playing the then national
game in the country store, down through the evocative render-
ings of Civil War topics and finally, the habits, customs and
dress of the American small village or rural family, Rogers
touched the vibrant heartstrings of the American people as no
other sculptor ever did. And he not only touched them, but he
was able to place in their very own homes an object that con-
tinued to touch them. In this he was truly unique.
It is not easy today, with our complex amusements and
sophisticated divertisements, to understand just how deeply
and enthusiastically popular the Rogers Groups were in their
day. No one who could afford the $15.00 to $25.00 price tag
failed to send a Rogers Group as a wedding gift or a presenta-
tion for any great occasion. Even entertainments in the form
of tableaux with living figures acting out the Groups were at-
tempted in many homes. They were also a favorite subject of
stereopticon pictures and magic lantern slides. Newspapers
greeted each new Rogers creation as a major event.
Between 1860 and 1893 John Rogers created eighty differ-
ent published Groups. Each was patented and in his New
York studio he had some 25 workmen turning out hundreds of
plaster reproductions. Of some subjects they cast and sold a
hundred; of some thousands. In the 30 years of Rogers' fame,
he sold over a million dollars worth of sculpture : a lot of money
for art work in those days or any days.
After modeling one original in clay with his own hands,
Rogers had a bronze model made of most of the groups except
the first four or five. From these permanent bronzes (now in
The N. Y. Historical Society) his workmen made molds from
which they cast the saleable figures. Each group was cast in
plaster, then covered with an oil paint usually tan putty color
(so not to show the dust) but sometimes darker brown, some-
times lighter gray. Many of these Groups such as the Shakes-
pearianseries display an amazingly intricate form of superb
casting. The Groups were sold widely by a series of illustrated
catalogs issued by Rogers and by display advertising in na-
tional magazines.
(4)
Mr. Rogers lived on until 1904 but before the 1890's were
over his work went out of style and he was forgotten. With the
other gaudy elements of late Victorian decor, hundreds of
Groups were broken, discarded or stored away in attics.
(For description of this Group, see page 17)
Today, and especially in the last three or four years, we are
beginning to appreciate these important works of highly skill-
ful craftsmanship perhaps with even a deeper sense than did
our fathers and grandfathers. Today we realize that no one
else has, in sculpture, expressed with such delightful sentiment
and meticulous care, American social history of the last half of
the 19th century.
Museums are beginning to collect Rogers Groups. The
largest and best collection, consisting of all but two of the 80
designs, is on public exhibit at the New York Historical
Society on Central Park West, in New York City, under the
care of Robert W. G. Vail. Another good collection is at the
Essex Institute at Salem, Massachusetts, Rogers' birthplace;
another at Manchester, N. H. where Rogers once lived. Several
(5)
private collectors are collecting these interesting Groups. A
noteworthy collection is owned by Doctor Grace Burnett. I
have been assembling my collection for several years. I con-
sider myself lucky to have been able to obtain some of the
rarest of all the Groups, the Civil War items which, of course,
were also the first that Mr. Rogers made. I hope over the
years to discover more.
No one pretends that Rogers Groups are great art. But no
honest critic can deny that they did make, as genre art, an
important contribution not only to sculpture, but to the folk
history of our people. While his contemporaries were turning
out single, noble but wholly derivative classic pieces of Euro-
pean type sculpture few Americans would ever see, John Rogers
went the other way and created realistic, straightforward
renderings of every day people that captured not only the
public fancy but the public heart.
I was fortunate enough to acquire through the courtesy of
The Vermont Historical Society, reproductions of the charm-
ing wood engravings Mr. Rogers used to illustrate his own
catalogs. It is these that I am reproducing in this brochure.
Many of the descriptions of the Groups in the following
Check-list are in Mr. Rogers own words quoted from his
catalogs. To some, 1 have added a word or two of my own. For
information on several I am deeply indebted to David H.
Wallace of Philadelphia, today's leading authority on Rogers
and now engaged in doing a definitive book on Rogers and his
work. Mr. Wallace's book will be published in the near future,
I trust, so collectors may have not only the wonderful story of
this remarkable folk sculptor, in great detail, but may also
have a documented and detailed account of his voluminous
work.
For measurements of the groups and other important data,
I am much indebted to the only existing book on Rogers: an
excellent volume written by Mr. and Mrs. Chetwood Smith,
and published by Goodspeed in Boston in 1934. This book,
long out of print, is unobtainable today. For this reason I am
issuing this short brochure to serve as a catalog of my own
collection now on display in the Vermont Country Store.
(6)
ITS ^mf^vvuitSPE^':
1. THE SLAVE AUCTION (1859)
Height lSx/i inches. Length 9 inches.
Since this was the first of John Rogers sculpture to be cast
for sale, it is considered the first Rogers Group. Coming in
1859, it was referred to as "Uncle Tom's Cabin in plaster."
2. CHECKER PLAYERS (1860)
Height 8x/z inches. Length 9 V2 inches. Depth 7 inches.
This was actually the piece that started Rogers to fame as
he exhibited it at the Cosmopolitan Bazaar in Chicago in 1859.
The sudden and great public acclaim of the admiring crowds
for this piece of work gave Rogers the idea that he had found
his forte. As will be seen, years later he issued another Group
depicting checker players which also became one of the most
popular of his works.
3. THE VILLAGE SCHOOLMASTER (1860)
Height 9% inches. Length 9 inches. Depth 6 inches.
This group shows three figures in a humorous vein: the
village schoolmaster, the Parson and an amused bystander.
The theme was from Goldsmith's "Deserted Village", a poem
known to every school boy of those days.
4. THE FAIRY'S WHISPER (1860)
Height 21 inches. Length 28 inches.
(7)
A little child, while seated on a bank, gathering flowers,
hears a fairy among the fern leaves at his side, whispering in
his ear, and listens intently to hear what it says to him. The
figure of the child is life size.
This was the first of the larger groups and one of the few
showing a single figure. The delightful modeling of a small
winged fairy makes it easy to understand why Rogers himself
said "This is my first attempt at anything ideal." Mr. and
Mrs. Chetwood Smith in their book on Rogers comment that
"Rogers never again made a design taken from the realm of
pure imagination."
5. THE FARMER'S HOME (1860)
David Wallace, leading authority today on Rogers, says
that this wus "medallions after Thorwaldsen's Night and
Morning." It is rare and no copy is at present known.
6. THE SHARP SHOOTERS (1860)
Height 12 inches. Length llYz inches. Depth 7 inches.
This small Group is the first of several dealing with the
Civil War. It shows two soldiers hiding behind a stone wall
with a dummy figure, made of a stuffed coat and hat, being
held up above the wall as a decoy to attract enemy fire. One of
the rarest groups.
7. THE PICKET GUARD (1860)
Height l^A inches. Length 10 inches. Depth 8 inches.
Two variants of this Group are known. One with veil on
the officer's cap is the first state. Later because of danger of
breakage, the veil was left off.
This Group shows an officer of the Union Zouaves, with
a soldier on each side, walking intently toward the picket line.
The most romantic figure of the first days of the Civil War was
Colonel Elmer Ellsworth of the famous Zouaves. Ellsworth
met an untimelyand tragic death early in the war. Probably
this Group was inspired by Ellsworth's wide reputation. Mr.
Rogers forbade photographers to take pictures of his groups,
but he did allow this one to be copied for a lithograph by
(8)
Dominique Fabronius, the Belgian artist and it was used as a
cover design for a piece of music published in Boston in 1864.
8. THE TOWN PUMP (1862)
Height IS inches. Length 10 inches.
A Union Soldier is standing at the old wood pump with a
cup of water in his hand, talking to a comely girl with a bucket
on her arm.
9. CAMP FIRE or MAKING FRIENDS WITH
THE COOK (1862)
Height 12 inches. Length 11 inches. Depth 6 'Vi inches.
The negro cook is opening the cover of a big stew-kettle
while a young soldier sits on a basket, and is about to sample
the concoction. This one is so realistic that even the bubbles
of the soup are shown.
(9)
10. CAMP LIFE or THE CARD PLAYERS (1862)
No copy of this is known. It shows two soldiers in uniform,
playing cards on an army drum.
11. THE WOUNDED SCOUT or FRIEND IN
THE SWAMP (1862)
Height 28 inches. Length lOVi inches. Depth 8l/2 inches.
Published at the time when some Union soldiers had es-
caped from Libby prison, this shows a wounded Union scout
who has been shot through the arm, being helped by a slave.
They are making their way to the slave's home in the swamp.
A copperhead snake is trying to strike the negro. This is the
Group Mr. Rogers gave to President Lincoln and received a
holograph letter of thanks.
12. TROUT FISHING
Long listed as a Rogers Group but according to Dr. Wallace
it is not by Rogers.
13. UNION REFUGEES (1863)
Height 22Yi inches. Length 12 inches. Depth lOVi inches.
This represents a scene in the early part of our civil war. A
Union family have been driven from their home in the South.
The father carries all the property they have saved in a bundle
slung on his gun. The little boy is trying to console his mother
by giving her flowers.
Mr. Rogers sister posed for the wife. Mr. Wallace reports
there are two versions; one showing the wife with long, the
other with short sleeves. The Group was issued both in plaster
and zinc bronze.
14. COUNTRY POSTOFFICE (1863)
Height 20 inches. Length 14 inches. Depth 10l/2 inches.
This is another Civil War subject showing an old cobbler,
who is also the rural postmaster, trying to read the address
on a letter the young lady at his side is waiting for.
(10)
15. MAIL DAY (1863)
Height 16 inches. Length 8 indies. Depth 8Yi inches.
It is the day for the mail to close, and a soldier is puzzling
his brains so as to complete his letter in time. This design was
made during our civil war.
16. RETURNED VOLUNTEER or HOW THE
FORT WAS TAKEN (1863)
Height 20 inches. Length 14lA inches. Depth 11 inches.
A soldier has built a fortification with some of the black-
smith's tools, and also an opposing battery with a horseshoe
and nails, and he is showing the blacksmith how they took the
fort. Looking on is a little girl about 6 years of age.
(11)
17. THE BUSHWHACKER or THE WIFE'S
APPEAL FOR PEACE (1864)
Height 22lA inches. Length llYi inches. Depth 8 inches.
This group shows a bearded bushwhacker (a guerrilla) being
importuned by his wife to stop fighting. It was shown first at a
reception at Mr. Rogers studio at 204 Fifth Avenue, in March,
1864.
18. WOUNDED TO THE REAR or ONE MORE
SHOT (1864)
Height 2314 inches. Length 9}i inches. Depth 10 inches.
Two wounded soldiers have been ordered to the rear during
a battle, but one of them is taking out a cartridge to load up
again, determined to have one more shot before leaving.
(12)
19. THE HOME GUARD or MIDNIGHT ON
THE BORDER (1865)
Height 23 inches. Length 8 inches. Depth 7 finches.
Two females living on the border during the Civil War and
the only ones left to guard the home as the men are all in one
army or the other, are suddenly called up by an alarm at mid-
night. The older one is in the act of cocking a revolver, while
the other clings to her for protection.
20. TAKING THE OATH AND DRAWING
RATIONS (1865)
Height 23 inches. Length 12lA inches. Depth 9lA inches.
After the war, many Southern families were very much
reduced and obliged to ask for food from the government ; when
they did so, they were compelled to take the oath of allegiance.
(13)
The group represents a Southern lady, with her little boy,
compelled by hunger, reluctantly taking the oath of allegiance
from a Union officer, in order to draw rations. The young
negro is watching the proceedings, while he waits to have the
basket filled for his mistress.
This group was favored by southerners as they considered
that Rogers had paid a great tribute to southern women in the
figure of the mother.
21. UNCLE NED'S SCHOOL (1866).
Height 20 inches, Length lJ^A. inches. Depth 9 inches.
An old negro boot-black is keeping school, but one of his
scholars, a mulatto girl, has asked him a puzzling question,
while a lazy little boy is mischievously tickling his foot, which
he feels, but is too much occupied to attend to.
(14)
22. THE CHARITY PATIENT (1866)
Height 22 inches, Length 12lA inches. Depth 8 inches.
A sentimental portrait of the old village doctor attending
to a charity patient; a woman with an infant in arms. This was
one of the most beloved groups according to the Smiths.
23. THE SCHOOL EXAMINATION (1867)
Height 20 inches. Length 13 inches. Depth 9 inches.
One of the School Committee has come to examine the
school, and is pointing out, good-naturedly, on the slate, the
mistake the little girl has made in her sum, while the teacher
stands by to encourage her.
(15)
24. THE COUNCIL OF WAR (1868)
Height 24 inches. Length 15 inches. Depth IS in.
The President's son, Robert Todd Lincoln, (who lived in
Manchester, Vermont,) said the model of his father was the
best likeness he had ever seen. Secretary of War Stanton
praised it highly in a letter to Rogers. Wallace reports var-
iants:— one with Stanton wiping his glasses behind Lincoln's
head; another more common version shows Stanton wiping his
glasses over Lincoln's shoulder. The third has Stanton's right
arm hanging at his side, with his left holding glasses.
25. CHALLENGING THE UNION VOTE (1868)
Height 22 inches. Length 18 inches. Depth 11% inches.
This shows three figures, a man seated at a desk, another
standing behind him, and a girl leaning on the ballot box. A
voting scene in the south before the war, this Group is seldom
found in good condition.
(16)
26. COURTSHIP IN SLEEPY HOLLOW or
ICHABOD CRANE AND KATRINA VAN
TASSEL (1868)
Height I6V2 inches. Length 15Vi inches. Depth 9 inches.
Designed from Washington Irving's Legend of Sleepy
Hollow where Ichabod Crane tries to gain the affections of
Katrina Van Tassel. They are both seated on an old-fashioned
Dutch settle, and while she is caressing a kitten in her lap, he is
urging her to accept a bouquet.
27. THE FUGITIVE'S STORY (1869)
Height 22 inches. Length 16 inches. Depth ll^/i inches. (For picture see page 5)
Three men prominent in the anti-slavery movement,
William Lloyd Garrison, John Greenleaf Whittier and The
Rev. Henry Ward Beecher are listening to the story of an
escaped female slave with child. All three men said these
were excellent likenesses. Rogers make measurements of his
subjects which accounts for their accuracy.
(17)
28. COMING TO THE PARSON (1870)
Height 22 inches. Length 17 inches. Depth 10lA inches.
The Minister is sitting in his study at his table, reading his
paper, and has just looked up to notice a couple approaching
hand in band. The young man is pointing with his thumb to bis
companion, and asking the parson to marry them. His dog has
just caught sight of the parson's cat.
This was the most popular and successful of the Rogers
Groups; 8000 castings were sold at $15.00 each, all witbin a few
months of publication.
29. PARTING PROMISE (1870)
Height 22 inches. Length 10 inches. Depth 8 inches.
A young man is about to start on a journey, and, on parting
from his lady-love, puts an engagement ring on her finger.
When Rogers finished with the Civil War Groups, he took
up the more sentimental subjects dear to the hearts of the
rural folk of the time. A variant of this Group shows the man
without mustaches.
(18)
30. THE FOUNDLING (1870)
Height 21 inches. Length 12 inches. Depth 11 inches. {For Picture, see page 2)
A poor woman has left her baby, in a basket filled with
straw, at the door-step of an old gentleman, who comes out
with his lantern, and takes it kindly up, while she listens be-
hind the fence to hear how it will be received. She has one of
the baby's shoes in her hand for a keepsake.
31. RIP VAN WINKLE AT HOME (1871)
Height 18Yi inches. Length 10 inches. Depth 10 inches.
Rip is resting against a fence, and watching a little fellow
who is straining to raise and aim his gun, while a little girl has
put his hat on, and is pulling his hair to attract his attention.
As Washington Irving says in his story: "The children of the
village would shout with joy whenever he approached. He
(19)
assisted at their sports, made their playthings, taught them
to fly kites and shoot marbles, and told them long stories of
ghosts, witches, and Indians. Whenever he went dodging about
the village, he was surrounded by a troop of them, hanging on
his skirts, clambering on his back, and playing a thousand
tricks on him with impunity."
This and the other Rip Van Winkle groups were suggested
by the play in which the great actor Joseph Jefferson took the
lead. For these groups the noted actor posed for Mr. Rogers.
32. RIP VAN WINKLE ON THE MOUNTAIN
(1871)
Height 21 inches. Length 9Yi inches. Depth 9Yi inches.
Hearing his name called, he hastened down the mountain,
while "Wolf bristled up his back," and looked "fearfully down
the glen." They met a "short, square-built old fellow, with
thick bushy hair and a grizzled beard. His dress was of the
antique Dutch fashion — a cloth jerkin strapped around the
(20)
waist, several pairs of breeches, the outer one of ample volume,
decorated with rows of buttons down the side, and bunches at
the knees. He bore on his shoulder a stout keg, that seemed
full of liquor, and made signs for Rip to approach and help him
with the load."
33. RIP VAN WINKLE RETURNED (1871)
Height 21x/i inches. Length 9Yi inches. Depth 9 inches.
Standing in his ruined gateway, Rip tries to recognize his
old homestead. "He found the house gone to decay, the roof
fallen in, the windows shattered, and the doors off their
hinges. A half-starved dog, that looked like Wolf, was skulking
about it. Rip called him by name, but the cur snarled, showed
his teeth, and passed on. This was an unkind cur indeed. 'My
very dog,' sighed poor Rip,' 'has forgotten me.' "
34. BUBBLES (1872)
Height Jfi inches. Length 17 inches. Depth 16 inches.
This life-size statue of a pretty little boy was made for
lawns and gardens and guaranteed, according to Mr. Rogers,
"to stand hot and cold weather and rain." Few copies are
found these days.
(21)
35. PLAYING DOCTOR (1872)
Height 14/4 inches. Length 15 inches. Depth 11)4 inches.
Two children, dressed in their parents clothes, as mother
and doctor, are playing that a younger one is sick, and his
mother has wrapped him in a blanket, and soaked his feet, be-
fore she called the doctor; but now he has come, with his
bottles of medicine, and is examining the patient.
John, and Charles Francis, Mr. Rogers sons and his daugh-
ter Katherine all posed for this group.
36. THE FAVORED SCHOLAR (1872)
Height 21 inches. Length 15Yi inches. Depth 11 inches.
The teacher is partial to a young girl, and is helping her
with her sums on her slate, while a boy is making fun of her
round the corner of the teacher's desk, by putting curls, torn
(22)
from the leaves of his book, over his ears. A bunch of lilacs,
which was probably brought by the favored scholar, ornaments
the desk.
Apparently the girl is old enough to be of special interest to
the young male teacher.
37. WE BOYS (1872)
Height 17 inches. Length 15Yi inches. Depth 8 inches.
The boys have brought the horse to the brook. While he
has been drinking, the boy who drove him lost the reins, and is
trying to regain them with his stick, but is alarmed at the
threatening action of the horse, who is turning his head to bite,
as he is irritated by the other boy, who is trying to climb on his
back from the bank, and is pulling himself up by the horse
blanket.
(23)
38. WE BOYS (1872)
This is the same as No. 37 except the horse was modeled
with head up instead of down.
39. HIDE AND SEEK: WHOOP! (1874)
Height Jfi inches. Length 19 inches. Depth lBYi inches.
The little girl has concealed herself behind a vase, standing
on the trunk of a tree, and has just called "Whoop!" to her
companion.
This life size figure of a young and comely girl was later
offered with a stone pedestal for $10.00 extra. The girl stands
on a cast-iron base and the vase beside her is cast iron to hold
plants and flowers.
40. HIDE AND SEEK (1875)
Height 49 inches. Length 18 inches. Depth 18 inches.
This companion piece of No. 39 was the tallest of all Groups
and shows life size figure of a boy, standing next to a pedestal
and vase. Henry L. Stimson, twice a Cabinet officer (Secre-
tary of War in World War II) posed for the boy.
(24)
41. GOING FOR THE COWS (1873)
Height 11% inches. Length 14% inches. Depth 9% inches.
The boy has ridden to the pasture for the cows. The bars
are down, and the horse is grazing, while the boy and his dog
are too much interested in a woodchuck's hole to think of the
cows.
This group was inspired by the antics of Rogers own child-
ren in their happy home at New Canaan, Conn. The horse is a
Vermont Morgan. It is typical of the story-revealing character
of Rogers work.
42. THE TAP ON THE WINDOW (1874)
Height 19% inches. Length 16 inches. Depth 11% inches.
The gentleman has just come to the point of offering him-
self, when he is very awkwardly interrupted by a tap on the
window by some one apparently more congenial to the lady.
(25)
43. THE SHAUGHRAUN AND TATTERS (1875)
Height 20 inches. Length IIV2 inches. Depth 9Yi inches.
The Shaughraun (which is the Irish name for vagabond) is
taken from Mr. Boucicault's play of that name, and was mod-
eled from him in all its details. It represents him in the scene
where he describes how he made his dog perform to amuse the
soldiers outside the prison where his master was confined,
while he played familiar tunes on his fiddle to let him know he
was there.
Dion Boucicault was a very popular writer of 19th century
lurid melodramas. One, "After Dark, or Neither Maid, Wife,
Nor Widow," was revived in 1927 in Hoboken by a group of
New York writers of which I was one.
44. CHECKERS UP AT THE FARM (1877)
Height 20 inches. Length 17 inches. Depth 13 inches.
A gentleman who has gone up to the farm with his wife
and baby, is playing checkers with the farmer, who has forced
his opponent's pieces into positions where they cannot be
moved without being taken. The lady is watching the game,
while the child in her arms is amusing itself by kicking off the
checkers on the board.
This was a popular Group, probably the second best seller,
Over 5000 copies were sold at $15.00 each.
45. WASHINGTON (1875)
Height 30 inches. Length 10 inches. Depth 10 inches.
Rogers notebooks reveal many descriptions of Washington's
portraits, measurements and sketches of uniforms so that this
portrait might be accurate.
46. WEIGHING THE BABY (1877)
Height 21 inches. Length IB inches. Depth IS inches.
The lady has brought her baby to be weighed in the grocer's
scales, and has placed it in the balance. A boy is pulling down
and adding to the weight of the baby, unseen by the others,
who are surprised at the high weight recorded.
(26)
The mother was posed for by Mrs. Rogers, the boy by her
son Charles Francis Rogers. This country store scene was one
of the most familiar because the country store was the great
institution of that era.
47. THE MOCK TRIAL or ARGUMENT FOR
THE PROSECUTION (1877)
Height 21 inches. Length 21 inches. Depth HY2 inches.
This represents a parlor scene where a young man is
charged with committing some offense. The lady, who takes
the part of prosecuting attorney, is delivering such a withering
and sarcastic argument to the judge against the prisoner, that
he turns round for protection to the young lady policeman who
has him in charge. Mr. Rogers sister posed for the prosecutor.
(27)
48. SCHOOL DAYS (1877)
Height 21 lA inches. Length 1 2% inches. Depth 9 inches.
Two children, on their way to school, stop to see the danc-
ing figures in a hand-organ. The little girl is still intently
watching them, but the boy is startled by the loss of his hat,
which has been snatched from his head by the monkey on the
organ.
49. THE TRAVELING MAGICIAN (1877)
Height 23 inches. Length 15l/2 inches. Depth 15 inches.
The Magician has fitted up a temporary stand and is per-
forming his tricks before an old man and a boy, who represent
the audience. He has the old man's hat, out of which he has
taken several things, and is just now lifting out a rabbit, much
to the astonishment and amusement of both. The Tambourine
girl, seated in front, is tired out and has fallen asleep.
(28)
50. PRIVATE THEATRICALS or LAST MO-
MENTS BEHIND THE SCENE (1878)
Height 24lA inches. Length 20 inches. Depth 12 inches.
The lady and gentleman are dressed for some play in the
costume of the time of Louis XIII.; and are just preparing to
appear on the stage. The lady is taking a last look at her part
in the book, and the gentleman is putting the finishing touches
to her brow with burnt cork.
Mr. Rogers, as were many of his day, was deeply interested
in drama, especially the Shakespearean. This was the heyday
of the fame of the greatest of all dramatic actors, Edwin Booth,
not only the noblest of them all, but the founder of my New
York Club, The Players.
(29)
51. THE SITTER (1878)
Height 17 inches. Length 8Y1 inches. Depth 8x/i inches.
This one of a pair shows a woman (posed by Mrs. Rogers)
posing her child on a table for the photographer.
52. THE PHOTOGRAPHER (1878)
Height 18 inches. Length 8Yv inches. Depth 8XA inches.
This companion piece to The Sitter was made to use on
mantel as one of a pair. This pair was smaller than most groups.
53. THE PEDDLER AT THE FAIR (1878)
Height 20 inches. Length 14 inches. Depth 11 inches.
The Peddler is on horseback with his box of jewelry before
him, and is watching with interest the result of the solicitations
of the young lady by his side, who is coaxing her father to buy
a necklace. The Peddler's cart was as familiar as the country
store.
(30)
54. THE BALCONY (1879)
Height 82 inches. Length 15 inches. Depth 11 inches.
The lady in the Balcony is supporting her little boy, who is
dropping over the railing a piece of money into the hat of one
of the street musicians below, while the girl, with a tambourine,
is making a dog sit up and balance something on his nose. This
is one of the most intricate examples of the Rogers' castings.
(31)
55. POLO (1879)
Height 21 inches. Length 16 inches. Depth llYz inches.
The rider in the background is trying to take the ball past
the flag, and so win the game — but which his opponent is just in
time to prevent. The flag and all parts of this group that
would be liable to injury are made in metal.
This departure from the folk ways of the people was not
very successful.
Jl II Plft l!ii k. '.! 'so ! nomin him ': j jf jl th^bonb™
56. IS IT SO NOMINATED IN THE BOND?
(1880)
Height 23 inches. Length 19x/2 inches. Depth 12x/i inches.
Antonio Bassanio, Portia, and Shylock are here represented
in the trial scene from Shakespeare's play of the "Merchant of
Venice." The stairs are supposed to lead to the seat of the
(32)
Duke, who presides over the court, but is not represented in
this group. Portia has disguised herself as a lawyer, and has
come to assist the Duke with her legal knowledge. She has the
bond in her hand which Antonio has given, and by which he
agreed that Shylock should have a pound of his flesh if he did
not repay the money he had borrowed.
Edwin Booth was the model for Antonio.
57. THE REFEREE (1880)
Height 22 inches. Length 11 inches. Depth llYi inches.
An old gentleman, as the Referee, is measuring the height
of two ladies, one of whom is playfully adding to hers by stand-
ing on tiptoe. The costumes belong to the last century.
By "last century" Mr. Rogers meant the 18th.
(33)
58. THE WRESTLERS (1880)
Height 27 inches. Length 17 inches. Depth 14 inches.
The design of "The Wrestlers" is taken from Shakespeare's
play of "As You Like It." Celia, the Duke's daughter, with her
cousin Rosalind, and Touchstone, the court fool, are watching
the struggle between Charles the wrestler and Orlando, who
is a young stranger, and apparently no match for the athlete.
59. A MATTER OF OPINION (1881)
Height 21 inches. Length 17H inches. Depth 12 inches.
Two physicians meet by the side of an invalid lady. One of
them is holding her hand and feeling her pulse, and is appar-
ently explaining his view of the case. But the other cannot
suppress his scorn. He is buttoning up his coat and preparing
to leave.
This is one of Rogers' several evocative groups about
physicians.
(34)
60. FETCHING THE DOCTOR (1881)
Height 16 inches. Length 16 inches. Depth 7 inches.
In my opinion, this is one of the best. The modeling of the
horse, with all feet off the ground, and the relation of the
figures to the action, illustrate Rogers professional grasp of the
classic art.
61. HA — I LIKE NOT THAT (1882)
Height 22 inches. Length 19Vi inches. Depth 12 inches.
Edwin Booth again posed for Rogers in this well beloved
scene from Othello. This is one of the most decorative castings.
62. NEIGHBORING PEWS (1883)
Height 18l/2 inches. Length 15lA inches. Depth 12 inches.
Two ladies have come late to church. The gentleman be-
hind them is showing the younger one the hymn, which makes
(35)
the elder iady feel indignant at the preference shown. The boy
in the front pew is amusing himself by putting on his father's
hat and gloves.
These were the days when the inside of a church was fam-
iliar to all country people including the young ones.
63. WHY DON'T YOU SPEAK FOR YOUR-
SELF, JOHN? (1885)
Height 22 inches. Length llYi inches. Depth 18 inches.
This design is taken from Longfellow's poem of the "Court-
ship of Miles Standish." Miles Standish was a gruff soldier of
the Plymouth Colony, and thought Priscilla would make him
a good wife, but felt diffident in expressing himself as a lover:
so he asked his "friend and household companion," John Alden,
to go to Priscilla and tell her that he offered her "his hand and
his heart," which John did very conscientiously, though in love
with her himself. Gathering for her on his way a bunch of May
flowers, he found her spinning; an open psalm-book was on her
lap, from which he had heard her singing as he approached.
64. YOU ARE A SPIRIT I KNOW, WHEN DID
YOU DIE? (1885)
Height 19 inches. Length 19 inches. Depth 14 inches.
Another Shakespearian play in which Edwin Booth posed
for King Lear, the part he took in the play.
65. MADAME, YOUR MOTHER CRAVES A
WORD WITH YOU (1886)
Height 20 inches. Length I8V1 inches. Depth 11 inches.
Shows the first meeting of Romeo and Juliet when Romeo,
disguised as Palmer, tries to kiss the hand of Juliet while her
nurse interferes.
66. THE ELDER'S DAUGHTER (1886)
Height 21 } 2 inches. Length 171 2 inches. Depth 10 inches.
The Puritan Elder seated on a horse with his daughter be-
hind him, does not approve of the young swain making love to
his daughter on the Sabbath.
(36)
67. PHRENOLOGY AT THE FANCY BALL
(1886)
Height 20 inches. Length 9lA inches.
The "art" of discerning character by the shape of the head
was all the rage in the 19th century. This group shows two
figures dressed for a fancy ball, one man with his hand on the
others head.
68. A FROLIC AT THE OLD HOMESTEAD
(1887)
Height 22lA inches. Length 17}/2 inches. Depth 14/4 inches.
This depicts an old mother back at the old homestead. Her
three grown children are frolicking . Probably this design was
taken from a poem by Whittier. This sort of design contri-
buted to Rogers title "The Artist of The Common People".
(37)
TH£ PEDOlEi ■ •; fAlR
69. PORTRAIT STATUETTE OF REVEREND
HENRY WARD BEECHER (1887)
Height $4 inches. Length 14% inches. Depth 12 inches.
Mr. Beecher was undoubtedly the best known preacher as
well as public figure of his era. Dr. Beecher wrote to Rogers
about this portrait, saying ... "I deem him to be an artist who,
either purposely, or unconsciously, employs form and color to
express some worthy thought or emotion, and so allies Art
directly with the Soul and makes it the tongue of the heart,
and not merely the nurse of the senses." Not only a pretty
good example of the moral tone of the time, but of the prose.
70. THE FIRST RIDE (LADY WITH A HAT)
Height 18 inches. Length 16% inches. Depth 10% inches.
This delightful group shows a farm horse, on Rogers' place
in New Canaan, with a lady (posed by Mrs. Rogers) placing her
small son on the horse's back and a farm hand on the other
side steadying the child.
(38)
71. THE FIRST RIDE (LADY WITHOUT HAT)
Same size and subject, except lady has no hat.
72. POLITICS (1888)
Height 18 inches. Length 18 inches. Depth 14 inches.
Two men are disputing a political question, as they are
seated around a cellaret (containing liquor) . The lady standing
in back is trying to make peace between them.
73. FIGHTING BOB (1889)
Height 34 inches. Base 10 inches square.
Joe Jefferson posed for this character from one of his
favorite parts of "Fighting Bob," in Sheridan's The Rivals.
74. CHESS (1889)
Height 21 % inches. Length 18 inches. Depth 16% inches.
Since Mr. Rogers enjoyed chess and often played it with
his sons, this group was a favorite of his. It shows two men
playing, with a lady standing, looking over the board.
75. FAUST AND MARGUERITE, THEIR
FIRST MEETING (1890)
Height 22 inches. Length 17 Yi inches. Depth 9}4 inches.
From the Opera Faust by Gounod.
76. MARGUERITE AND MARTHA TRYING
ON THE JEWELS (1891)
Another scene from Faust.
77. FAUST AND MARGUERITE LEAVING
THE GARDEN (1891)
Height 24V1 inches. Length 20 inches. Depth 12 inches.
Marguerite has picked a daisy and is standing on the stairs
pulling off its petals while Faust is telling her of his love. A
most intricate casting and of great delicacy.
(39)
f >«&»
78. FOOTBALL (1891)
Height 15 inches, Length 11 inches. Depth 9}/% inches.
Shows a half-back trying to break through the line, with
three of the opposing team tackling him. Not a popular group.
79. THE BATH (1892)
Height 27 inches. Length 16 inches. Depth 12 inches.
Although this shows a nude infant in the bath with his
mother and sister doing the bathing, it received so much
criticism because it was thought to be shocking that Rogers
withdrew it. Few copies are in existence.
80. THE WATCH ON THE SANTA MARIA
(1892)
Height 15% inches. Length 12 inches. Depth 11 inches.
This was Mr. Rogers last Group and was termed by him
his Swan Song. It shows three figures on the Santa Maria
looking toward the dawn and a New World.
(40)
VEEKLY. Tuesday. Nov. 4. 1969
Page Eleven
"Phrenology At The Fancy Ball." In 1886 when Rogers created
this group, the mystical art of the phrenologist was quite the
rage in cultured circles throughout the land. Height 20 inches,
length 9Vi inches.
"Checkers Up At The Farm." A later version (1877) of Rogers'
original "Checker Players"— the work that brought him almost
instant renown in 1860. This one was probably his second best
seller. It retailed for £15. Height 7(\ inches wiHth 17 inch**
ANTIQUE AUCTION
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John Rogers and Antiques Show March 27, 9 a.m. till 7 p.m.
John Rogers Estate Auction Sunday, March 28, 12:30 p.m.
Hilton Inn, Fort Wayne Airport Fort Wayne, Indiana, Bair Field
1*£
SLAVE AUCTION
TOWN PUMR_76^>
PICKET GUARD llA0
UNCLE NED'S SCHOOL* H
^ —ONE MORE SHOT
WOUNDED SCOUT -^
} b^ CHARITY PATIENT
CAMPFIRE
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JOHN ROGERS —
PARTING PROMISE
COMING TO PARSON
WE BOYS
GOING FOR COWS
CHARITY PATIENT
UNCLE NED'S SCHOOL
COUNCIL OF WAR
TAP ON THE WINDOW
MADAM
*7*
^ 1-W4WI
RIP VAN WINKLE AT HOME
This Doctor was a collector of Rogers Groups for 25 years
EVERYTHING SELLS, NO RESERVES
0-+-*
Hennecke Groups
Faust and Margeurite
Bust of Hermes
Family Cares
Seaside
Is That You Tommy
Rogers Consigned
Ha I Like Not That
It Is So Nominated In The Bond
First Ride
Coming to Parson
Checkers Up At The Farm
Neighboring Pews
— FINE CHINA —
R. S. Prussia Chocolate Set; R. S. Germany Chocolate Set Farm Scene, hairline in pot; 6 Beau-
tiful R. S. Prussia Deep Bowls; R. S. Prussia Sugar Shaker; R. S. Prussia Celery, satin finish;
R. S. Prussia Flower Urn; Unmarked Cracker Jar; 3 Rose Bowls; Old Ivory Berry Set; Wave
Crest Signed Box; Amethyst Vases enameled with butterflies; Grape and Cable Signed North-
wood Purple Carnival Water Set; Signed N Blackberry Purple Water Set; Holly Amber Bowl,
perfect; 3 Holly Amber Desert Dishes, nice; French Cameo Cracker Jar; Pr. Enameled Cran-
ANTIQUE AUCTION
John Rogers and Antiques Show March 27, 9 a.m. till 7 p.m.
John Rogers Estate Auction Sunday, March 28, 12:30 p.m.
Hilton Inn, Fort Wayne Airport Fort Wayne, Indiana, Bair Field
SLAVE AUCTION
TOWN PUMP_ 7£«>
PICKET GUARD „ inD
UNCLE NED'S SCHOOL" I4
-ONE MORE SHOT
-WOUNDED SCOUT
CHARITY PATIENT
CAMPFIRE
RIP VAN WINKLE AT HOME
— JOHN ROGERS —
PARTING PROMISE
COMING TO PARSON
WE BOYS
GOING FOR COWS
CHARITY PATIENT
UNCLE NED'S SCHOOL
COUNCIL OF WAR
TAP ON THE WINDOW
MADAM
This Doctor was a collector of Rogers Groups for 25 years
EVERYTHING SELLS, NO RESERVES
Hennecke Groups
Faust and Margeurite
Bust of Hermes
Family Cares
Seaside
Is That You Tommy
Rogers Consigned
Ha I Like Not That
It Is So Nominated In The Bond
First Ride
Coming to Parson
Checkers Up At The Farm
Neighboring Pews
— FINE CHINA —
R. S. Prussia Chocolate Set; R. S. Germany Chocolate Set Farm Scene, hairline in pot; 6 Beau-
tiful R. S. Prussia Deep Bowls; R. S. Prussia Sugar Shaker; R. S. Prussia Celery, satin finish;
R. S. Prussia Flower Urn; Unmarked Cracker Jar; 3 Rose Bowls; Old Ivory Berry Set; Wave
Crest Signed Box; Amethyst Vases enameled with butterflies; Grape and Cable Signed North-
wood Purple Carnival Water Set; Signed N Blackberry Purple Water Set; Holly Amber Bowl,
perfect; 3 Holly Amber Desert Dishes, nice; French Cameo Cracker Jar; Pr. Enameled Cran-
berry Vases; 2 Barber Bottles; 96 Pes. Sheffeld Silver with Rope Leg Chest; Mary Gregory
Lavender Warmer with Sail Boats; Kate Green Away Child's Tea Set; Cranberry Pickle
Castor; Pewter Plate; Oak Kitchen Clock; Oak 6 drawer Spool Cabinet; China Cabinet Lighted;
Oval Table Hardrock Maple; Oak Dresser, Oak Commode with Towel Bar; Ice Cream Table
and Chairs; Oak Love Seat; Original Alladin Green Lamp; Floor Model Alladin; Victorian
Chair; Cherry Drop Leaf Table; Old National Geographies 1930 on, 50 volumes; hard bound
National Geographies; 10 Gal. two handled Crock; Oak Ice Box Refinished; 2 Drawer Cherry
Night Stand, nice.
— CURRIER & IVES —
Niagara Falls From the Canadian Side, Good Color Walnut Frame
General Chester A. Arthur, Republican Candidate for Vice President of the United States,
Cross Leaf Walnut Frame.
General Taylor Never Surrenders, Original Plank N. Currier
Death of President Lincoln, Cross Leaf Frame
Washington Family, Oval Frame
Lincoln Family, Oval Frame, Nice
Summer Night Odd Fellow, N. Currier, Rare
Major General Ambrese E. Bumside
Autumn on Lake George Haskell
Major General George B. McClellan Ensign Bridgman & Fanning
The Late Stephen A. Douglas Ensign Bridgman and Fanning, Rare
Soldiers Memorial 123 Regiment Co. H. O. Volunteers, Monroeville, Ohio
THERE ARE OTHER PRINTS NOT MENTIONED.
— MUSEUM QUALITY —
Mrs. Fry Reading to the Prisoners in Newgate in the Year 1816, Painted by Jerry Barett, En-
graved by T. Oldham Balew, 4H4 x 31, London published May 1, 1867, Will Lucas Co.,
Fine Original Frame.
Noah Webster The Schoolmaster of the Republic, Copyright 1885, published by Root & Tinker
Tribune Building, New York, Oak Frame.
Ships of General Navigation Co., Painted by W. J. Huggins, Engraved by E. Duncan, Published
by Huggins 1841.
James A. Garfield President of the United States, Published by J. H. Buffords & Sons, Boston
and New York.
Louis Icarts Spanish Dancing Girl Nude, Dated 1926 1927, Original Matting & Frame, Mint
Condition.
THERE ARE 50 PRINTS THAT WILL BE SOLD, THIS IS PARTIAL LISTING.
FOR RESERVATION AT THE HILTON INN CALL 219-747-9171
REFRESHMENTS WILL BE AVAILABLE
CONDITIONS OF SALE
If you are not sure of your standing with our firm, please consider this as a cash sale unless your check
is accompanied by a current "Letter of Reference from Your Bank", do not attend this sale without this
important information. Absolutely no checks will be accepted without this information unless you are
one of our established customers and have establised prior acceptance; any stop payment or bad check
will be prosecuted to the fullest extent of the law.
MAIL BIDS
Will be accepted with a 50 percent deposit 'Certified Check or Money Order* only will be (accepted for
deposit. The bid will be executed by the Auctioneer as if the bidder were present Bills to be rendered
for the amount of which the item was sold. Not necessarily the top amount of the mail bid. All items
to be paid within 15 days or deposit forfeited.
SALE CONDUCTED BY
AUCTIONEER BYER AUCTION SALES CLERKS
RICHARD BYER wm8hire, Ohio DAVE HOUSER
Phone 419495-2239 £. G. FURHMAN
ADMISSION CHARGE $1.00 PER PERSON
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